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Topic: Wong Kar-Wai

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Wong Kar-wai - Wikipedia, the free encyclopedia Wong Kar-wai has directed various short films, television commercials, music videos, or combinations thereof, all faithful to his style. Wong Kar-wai, (Traditional: 王家衛; Simplified: 王家卫; Hanyu Pinyin: Wáng Jiāwèi) (born July 17, 1958) is a Hong Kong based film director and auteur known for his unique visual style of romantic art films. Wong's fourth movie, Ashes of Time (1994), released between Chungking Express and Fallen Angels, applied his approach to a star-studded wuxia (martial arts swordplay) story; the desert shoot in Mainland China dragged on for over a year and resulted in one of contemporary Hong Kong cinema's most notorious commercial disasters. en.wikipedia.org /wiki/Wong_Kar-wai   (1383 words)

Wong Kar-wai Wong's highly stylized camerawork serves as a visual foil to the chaos of the meticulously structured mise-en-scene: the crowded living conditions, overly familiar neighbors, and imposing, uninvited guests reflect the claustrophobic, intrusive nature of traditional society. Inevitably, Ah-Ngor returns to the normalcy of her bucolic life in the province, and soon, Wah begins to reassess his life, fueled in part by a chance encounter with a former girlfriend who has since married, and the looming threat of a police crackdown after a high-ranking mob informant is arrested. Presenting a contemporary urban drama that is both socially relevant and philosophically existential, the film serves as haunting and provocative examination of the consequence of obligation, the irreconcilability of fate, and the tragedy of missed opportunity. www.filmref.com /directors/dirpages/wong.html   (1329 words)

Asia Studios > Wong Kar-wai Interview Wong Kar-wai: We were very surprised, and of course we were very happy because we are the first HK film and also the last HK film to be in the competition before the handover, and so it was very special to us. Wong Kar-wai: Well, in "Fallen Angels", I think the character of Michelle Reis is very safe, she's very safe about everything, she refuses to have any involvment or contact, actual physical contact, with anybody, and so she prefers to enjoy herself, rather than have real sex with the person she loves. Wong Kar-wai: No, I think it's not wrong; as an actor they have so many considerations, and also this is the first time he is playing a gay role in a film, and so he would be very nervous about it. www.asiastudios.com /interviews/members/wongkarwai.html   (2121 words)

At the Movies: Interview with Wong Kar Wai WONG KAR WAI: I was born in Shanghai and I came to Hong Kong when I was five. WONG KAR WAI: At that time that means you are dealing with only one person, the operators. WONG KAR WAI: It's seamless, because it's almost like you just work, not in a station, but in a coffee shop and you have all these meetings in the coffee shop. www.abc.net.au /atthemovies/txt/s1397057.htm   (1324 words)

Film: Wong Kar Wai Wong Kar Wai has emphasized that he is "always distressed by the possible outcome" of the things he didn't do. It could be said that Wong Kar Wai's fractured narratives play on the re-lived moment and the disappointment of movement without progress. The films of Wong Kar Wai are based on the same thing happening over and over again. www.montrealmirror.com /ARCHIVES/1998/060498/film5.html   (485 words)

Meditations on Loss: A Framework for the Films of Wong Kar-wai by Anthony Leong Always waiting for his stewardess ex-girlfriend (Zhou Jialing) to return, he is completely oblivious to the fact that Fay (Faye Wong), the counter girl at a local fast food place, has been breaking into his apartment and rearranging his belongings. Wong's films, at their most basic level, are an exploration of the double-edged sword known as memory. Essentially, Wong postulates that the pain of loss and the tenacity of remembrance are both destructive forces, yet essential for survival. www.mediacircus.net /wkw.html   (2740 words)

Movies: The Neverending Story - Newsweek: International Editions - MSNBC.com Wong has earned the moniker "Godard of the East," and while his movies are as existential and his sets as free-form as those of the French New Wave pioneer, he goes beyond that. Wong's movies—including the delightful romantic comedy "Chungking Express," the melancholy gay love story "Happy Together" and the tragic romance "In the Mood for Love"—are artful, wholly original mazes of emotion that help push the craft of cinema forward. Wong's obsession with separation and the role of memory can be traced directly to his childhood. www.msnbc.msn.com /id/5197368/site/newsweek   (1274 words)

Wong Kar-wai Wong’s story is continual and the narrative as dependent on the context of the present as of the past. Wong’s ‘MTV aesthetic’ that finds an equilibrium between sound and image retains a sentimentality that does not succumb to an ‘empty’ spectacle, or allow it to be subsumed by a postmodern ethos. Wong’s endless array of possible scenarios and the navigation of his protagonists’ internal and external journeys in turn constitute an unravelling and reconfiguring of spatio-temporal constrictions. www.sensesofcinema.com /contents/directors/02/wong.html   (4047 words)

Wong Kar-wai: Time, Memory, Identity Director Wong Kar-wai was born in Shanghai, China, 1958 and immigrated to Hong Kong as a child. Wong Kar-wai's justly acclaimed montage of the conclusion of the first part and the start of the second story is almost seamless. However, Wong Kar-wai returns to the serious course when he subverts a well-known martial arts genre (wu hsia pien) film by saturating it with existential angst suffered by his questing sword-yielding protagonist in Ashes of Time. www.arts.uwaterloo.ca /FINE/juhde/toh951.htm   (2291 words)

Cannes 97 Wong is Hong Kong's coolest cult director and has more or less reinvented the soon-to-be-former-colony's cinema since the turn of the decade. Wong confesses to having been drawn there both by that fact and by a love of Latin American literature, Manuel Puig in particular. Wong and I are the only two people in the room actually talking to someone we can see. www.filmfestivals.com /cannes97/cintd1.htm   (800 words)

The Observer Screen Cool under pressure Wong Kar-Wei had made a commitment that the film was going to appear at Cannes this year. Hong Kong director Wong Kar-Wei was convinced that his new film, provisionally called Summer in Beijing, was going to be a quick, relaxing experience following the logistical nightmare of his Buenos Aires-set gay love story, Happy Together, released in 1997. Hong Kong auteur Wong Kar-Wei says that making his latest film was the most miserable period of his life. observer.guardian.co.uk /screen/story/0,6903,375557,00.html   (1888 words)

Wong Kar-Wai It was popstar Faye Wong's acting debut and her interpretation of the song Dreams by The Cranberries is used in the film. Born in Shanghai in 1958 Wong emigrated to Hong Kong at the age of five. When Ashes was finally finished it received critical acclaim, especially for Australian cinematographer Christopher Doyle who won prizes (in Venice and the Golden Horse award) for his work and worked with Wong on other movies. members.vol.at /bernhard/wong_karwai.html   (947 words)

TIME Asia Magazine: In the Mood for Rapture -- May. 31, 2004 Forget what you've heard about Hong Kong-based writer-director Wong Kar-wai: that he's the tall dude in the cool shades who makes superhip movies the international art-house set loves for their languorous rhythms, their gorgeous-garish visual tones, their iconizing of alienation, their pioneering of a sultry cinematic language. Wong's films are a snap to decode for anyone familiar with the tropes of classic movie romance. This year is still relatively young, and Wong's romantic epic, in the version shown at Cannes, is not quite finished. time.com /time/asia/magazine/article/0,13673,501040531-641205,00.html   (912 words)

ABC News: Wong Kar-Wai to head Cannes film festival jury Wong, who will preside over the 59th Cannes Film Festival from May 17-28, follows in the footsteps of directors such as Quentin Tarantino, Martin Scorsese and David Cronenberg. Wong made clear he saw the job as a challenge. The president of the 2005 jury, Yugoslav director Emir Kusturica, cast a shadow over the annual cinema extravaganza in the French Riviera resort city last year, saying the quality of movies at the festival had fallen short of expectations. abcnews.go.com /Entertainment/wireStory?id=1470010   (265 words)

BAM : Brooklyn Academy of Music Wong Kar-Wai is many things: A visionary who takes years to finish a film, a romantic who tells stories about alienation, and one of our greatest living filmmakers. This documentary focuses on the time that Wong Kar-Wai spent in Argentina shooting Happy Together. Wong pushes his style close to abstraction, creating a cinematic tone-poem of lives intertwining, including a hitman and his assistant who is falling in love with him. www.bam.org /film/wongkarwai.aspx   (742 words)

BOMB Magazine: Wong Kar-wai by Liza Bear In this oblique, sensuous, divinely crafted portrayal of shame and yearning, Wong Kar-wai has tossed the moral card clean out of the pack, caring not a fig about the pros or cons of adulterous passion and glorifying neither marital fidelity nor betrayal. Known for his unique visual flair, Wong Kar-wai, whose career began as a graphic designer and screenwriter, here abandons the impressionistic flamboyance of his earlier award-winning films, Days of Being Wild, Chungking Express and Happy Together. Eventually, through a slow, undeniable accumulation of clues, the two surmise that her husband and his wife are having an affair, and their own burgeoning rapport acquires an erotic charge. www.bombsite.com /karwai/karwai.html   (308 words)

focus on wong kar-wai Wong Kar-wai fans and new converts are invited to join Philippa Hawker, Stephen Teo, Karena Salinka and Clare Stewart in a discussion about the cinema of Wong Kar-wai. Wong Kar-wai's impressive directorial debut follows the misadventures of Ah Wah (Andy Lau) a small-time gangster caught up trying to protect his wild friend Fly (Jackie Cheung) while falling for his sickly cousin Ah-Ngor (Maggie Cheung). ACMI is proud to present the first major Wong Kar-wai retrospective in Australia and to celebrate the Melbourne premiere of his much-anticipated 2046. www.acmi.net.au /focus_wong_karwai.jsp   (634 words)

Intersections: Migration-as-Transition: Pre-Post-1997 Hong Kong Culture in Clara Law's Autumn Moon This journey is evident in the way her schoolgirl crush transforms the infatuation subtext from permanent devotion to a transient memory of contingency and forgetting. Throughout the film, the discourse of friendship traces the places of nostalgia and loss in such a heterotopic way that the spaces that are mapped are inextricably tied to a point in the movement towards the place of 1997. The geography of childhood that focuses on the experiences of boundaries (marking the pure from the defiled, desire from fear, and excitement from anxiety) in shaping its relationship to the place of belonging functions in the film as a place for the conditions of attachment, dwelling and living in the journey of becoming. wwwsshe.murdoch.edu.au /intersections/issue4/yue.html   (7664 words)

Dialogue with Wong Kar-wai After wowing the Cannes crowd in 1997 and 2000 with "Happy Together" and "In the Mood for Love" respectively, Wong is returning in Cannes with his much-awaited "2046." Wong has consistently been the darling of the film festival circuits, with many of his films picking up best film prizes from festivals from Valdivia to Argentina, and made international stars of his favorite actors, such as Tony Leung and Maggie Cheung. Wong: There are many reasons, including the outbreak of Severe Acute Respiratory Syndrome (SARS), but probably it is the way I filmed my movies with a small and intimate crew. www.hollywoodreporter.com /thr/awards/cannes/feature_display.jsp?vnu_content_id=1000514706   (861 words)

Wong Kar Wai invited to head Cannes jury Chinese director Wong Kar Wai will head the jury of the 59th Cannes film festival from May 17-28, 2006, to be the first Chinese president in the history of the Cannes Festival, organizers said Wednesday. Wong Kar-wai: His movies, his soundtracks and more Wong, whose work "As tears go by" was first screened at Cannes in 1989, won best director at the 1997 film festival for "Happy Together", his tale of a strained relationship between two Chinese gay lovers living in Buenos Aires. www.chinadaily.com.cn /english/doc/2006-01/05/content_509487.htm   (318 words)

Bright Lights Film Journal 2046 Faye Wong’s performance is the airiest, lightest, and most appealing of the three female leads, where fullest expression is given to the romantic, visual poetry Wong Kar-Wai’s fans most associate with him. Wong is showing in Chow how our actions and behaviour change and alter from one relationship to another; Chow’s character is not fixed, but shifts in relation to the partner and the story. Characteristically for Wong, the film’s major theme is spelt out quite explicitly late in the film in one of Chow’s voice-overs: “Love is all a matter of timing,” he says. www.brightlightsfilm.com /47/2046.htm   (1551 words)

bonza rmit film research Wong Kar Wei admittedly did not get along with Doyle on their first production, "Days of being Wild", but they gradually develop their friendship through time. Born in 1958, in Shanghai, China, Wong Kar Wei left his hometown for Hong Kong with his family at the age of five. Like Wong, Doyle is comfortable working in the absence of a script, thus his perceptions are immediate reactions, when Wong produces his script on set. bonza.rmit.edu.au /essays/1998/doyle/wong.php   (669 words)

Wong Kar-wai : Chungking Express Wong's lightest film, to Hong Kong what Breathless is to Paris, Chungking Express presents some of Wong's motifs -- deadlines, significant seconds, love sickness -- in the form of an intoxicating and offbeat comedy about melancholy. Made during a break from the notoriously prolonged Ashes of Time, Wong knocked off this "lark," two consecutive stories of love-smitten cops (#223 & #663) and the women they lose and the women they almost connect with. In the first episode, #223 (Takeshi Kaneshiro) hopes to reunite with the his departed May and, as a tribute to their relationship's end, he collects cans of pineapple (her favorite fruit) that will expire on May 1. www.amamedia.org /movies/wong/chungking.html   (255 words)

TIME Asia Magazine: 2046: A Film Odyssey -- Oct. 04, 2004 Wong's work habits may exasperate those around him. Mostly, though, Wong is a notorious perfectionist in an industry that believes fast is good. For his trouble, Wong and 2046 went home without a prize. www.time.com /time/asia/magazine/article/0,13673,501041004-702196,00.html   (804 words)

TIMEasia.com Make Mood, Not Love 10/16/2000 Wong Kar-wai's enthralling, enigmatic In the Mood for Love is an essay in appetite and inhibition. Wong acknowledges that his actors were often exasperated during the grueling 15-month shoot. And the subject of every Wong film, from the early As Tears Go By and Days of Being Wild to Chungking Express and Happy Together, is the combustion of yearning and isolation—the need for closeness within the life sentence of solitude. www.time.com /time/asia/magazine/2000/1016/cinema.karwai.html   (1210 words)

Space Age Bachelor: Wong Kar-Wai at the Airport This is the Wong Kar Wai moment: a strange lightening of moods or opening of possibilities makes the viewer realize that the uncertainties of life may not always lead us to disaster (even if, like the heroes of Fallen Angels and Days of Being Wild, you're about to be filled with many bullets). Wong's pursuit of what he (and we) doesn't know already has led to some of the most startling movies of the decade. Wong says it's difficult to balance the demands placed upon him as writer, producer and director of his recent films. www.space-age-bachelor.com /features/98/wkw.htm   (3293 words)

In The Mood For Love Wong Kar-wai found inspiration in "Intersection" and other short stories by famed writer, Liu Yi-chang. Among many influences, Kar Wai acknowledged Italian director Michelangelo Antonioni's "L Eclisse" (1962) where the actors were often photographed with their backs to the camera. Leung and Cheung discuss how they dealt with Wong's abstract style of direction and storytelling, and we are also shown bits from the film's premieres at various festivals. www.p0ps.com /buy/DVD/inTheMoodForLove.html   (2745 words)

Wong Kar-wai at the End of Time However marked by longing, Wong Kar-wai's films recognize the pleasures of the fleeting encounter (sigh), and the stories tend to center around way-station sites of transience (city streets, bars, fast food stands, the night time). Also, and more apropos, Wong Kar-wai's work is insistently about time. Wong's work also insistently presents characters, principally men, as somehow out-of-sync: time becomes a narrative and thematic concern. www.amamedia.org /movies/wong   (672 words)

The Gangster as Hero in Hong Kong Cinema Wong Kar-wai, therefore, incorporates that classic Chinese theme into his gangster story to express the struggle between modernity and tradition in Hong Kong. This essay will explore the appropriation of the gangster genre by Hong Kong cinema, by mainly focusing on some of the more acclaimed directors to have worked in the genre, John Woo, Johnny To and Wong Kar-wai. What is more, although Wong adheres to several of the stereotypical aspects of the gangster genre, his film works at a more poetic level than Woo’s spectacular “action” cinema. www.horschamp.qc.ca /new_offscreen/hkgangster.html   (4672 words)

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